ceeded him in his principal characters. He was extremely forcible in depicting the passions of rage and grief, and excelled in personating Othello and Jaffier. In private life he was somewhat licentious. He married the daughter of Sir William Barkham, and after her death formed a liaison with Miss Mountfort, whom he deserted for Miss Saintlow, the lady he afterwards married. Miss Mountfort sank into a fit of despondency, and mental derangement ensued. A strange story is related of her while in this state. Ophelia had been one of her favourite characters; and one day, hearing that "Hamlet" was to be performed that evening, she escaped from her keeper, hid herself in the theatre, and pushed on the stage before the actress who was to play that part. There was an actual Ophelia before the spectators, and the way in which she sang her wild snatches of song must have been only too truthful. There is no account of the effect of this incident upon the audience. Whatever pleasure there may be in witnessing such scenes, must consist in a consciousness of the illusion: the sad reality could only cause unmitigated pain.
Booth was the fortunate man selected to play Cato in Addison's famous play, and the auspicious circumstance was the crowning event in his career. It filled his purse, overwhelmed him with popularity, and introduced him to a share in the management of the theatre; but it spoilt him as an actor, and he became so negligent that, while playing Othello one evening, a message was sent to him from a private box, to ask if he was acting merely for his own amusement. In private life he was cheerful, generous, fond of conviviality, though somewhat diffident. In person he was short but well-made, with an air of dignity and the great advantage of large muscles, so that the play of his features was distinctly discernible even in the gallery.
